Tuesday, 27 December 2016

2016 was spent mostly trying to not kill myself (also finishing school), meaning I really didn't get much reviewing done. Because of that, I'm just going to do this absurd thing again where I review 15 LPs, EPs, and demos (45 releases in total) in a single post to make up for my absence. I made sure there were no repeats from the midyear roundup megapost, so this is a whole new set of shit. No links were stolen, because only hacks do that (you know who you are), and original sources are all linked / credited unless I couldn't find the original source; the links are all in the titles. So strap in, this is gonna be a wild ride.

Everything Grim has put out should be considered among the best, most essential industrial ever made (up there with SPK and Minimal Man), and Orgasm is no exception to that. The unrelenting rhythmic electronics, hints of traditional folk, and beautiful, uncomfortably serene melodies which Grim is known for are all here. Jun is still a master of his craft, and still stands above most of his contemporaries, past and present.

When I first heard this band in 2014, I was fucking floored. The obvious comparison to Primitive Man based on shared members was there, but Vermin Womb certainly is its own monster. I think a good way to describe them is to liken them to the climactic scene in Lovecraft's "The Music Of Erich Zann," in which the titular character frantically plays in an attempt to keep elder gods from crossing the threshold into our world. But instead of a shrieking viol over the indescribable sounds of lovecraftian horrors, it's ruthless deathgrind.

This link leads to a review I did earlier this year on FBN, but in summation: Anxiety is a total fucking mess of weird punk and industrial, and certainly one of the more interesting bands to pop up this year.

FFO: Feederz,
Minimal Man

Brainbombs Souvenirs
This link leads to a review I did earlier this year on FBN, but in summation: it's Brainbombs doing what they do, and doing it well; it's more psych-oriented than what a lot of people expect from them, but I can assure you that it fits in as a fantastic addition to their already flawless output.

I've been looking forward to this one for a while now, and it does not disappoint. The Lowest Form's previous LP, Negative Ecstasy (also on ILR) established them as a total powerhouse of a band. Personal Space picks up right where they left off, and although the production is different, The Lowest Form still deliver their over-the-top explosive hardcore punk battering ram of a sound; just in a different way. There's less fuzz, but the frantic guitarwork and overall claustrophobic delivery fills in any space that you might have thought would be freed up. This thing is a fucking wrecking ball.

I reviewed this for Cvlt Nation a couple months ago (the feature can be found here), but in summation: Balcanes' brand of brooding, minimalist noise rock with hints of industrial is as crushing as it is bleak. If you remember how highly I praised their Plataforma / Autopista 7" a couple years ago, just know that Carne Nueva takes everything amazing about that release and amplifies it exponentially.

I'm so glad that Shaatan finally has a full length release out. They're certainly a strange band, even for the Black Twilight Circle, which should already tell you something. Weigh Of The Wolf feels like a middle point between the spaciest and most plodding of the BTC's projects, but there's also what seems to be a post-punk element, along with the usual psych leanings. Also, there's a flute, which might make you think "oh boy, a gimmick," but I can assure you that it only serves to enhance the gloom and doom. You probably should've already been sold on this when I mentioned it's from BTC.

The titans behind Iron Lung Records strike again. Private Room is self-described as "the new Walls. Better songs, worse attitude," which is a solid reference point. Their debut 7" was good, but Forever And Ever is something else entirely. So much is happening on herethat it might take a bit to realize what the fuck is hitting you; there's hints of shit from all across the spectrum of noise and post-punk, including (but not limited to): electronics, unconventional structures, and abstract guitarwork layered over driving bass and drums. There's even some Rudimentary Peni style riffing to top it all off. A must listen.

Admittedly, I didn't listen to as much metal this year as I did the previous couple years, but I made it a point to check out the new Blood Incantation, because I'd heard nothing but good things from people whose opinions I trust (and there aren't many). Lemme tell you, Starspawn is everything I would want from a death metal LP in 2016; it's overwhelming and foreboding in a very real way. The seamless melding of spacy elements and bruising death metal is not the easiest thing to pull off, but Blood Incantation does a helluva fine job.

This might be White Medal's best work yet; it's got the riffs, it's got the evil, it's got the potentially questionable content, it's got everything you probably want from a black metal LP. I have to say, it's interesting to hear White Medal with a clean(er) production, because it brings out just how terrifying they sound. Lyke Wake is a winding, gnarled killer.

I'm so glad I got to catch them on their most recent tour, because seeing Rakta live really cements just how outstanding they are, and how good they are at what they do. For example, most bands who use keys/organs/synths to make dark music end up producing what could be compared to kitschy tunes in a shitty high school theatre rendition of Dracula. But not Rakta; no they push those keys and synths to their limits, even delving into electronics and exploring harsher textures. The result is spooky, but in a Lovecraft way rather than in a campy haunted house way. ILR sure knows how to pick'em.

I have no idea how the members of the Black Twilight Circle manage to churn out so many winners, but I'm thankful for it. Arizmenda is easily one of my favorites of the bunch; their nightmarish, psychedelic sound always evokes existential dread, and this new LP only adds to their already absolutely phenomenal output. If you're looking for something to listen to in the dark when you're having an existential crisis and want your skin to crawl just a little more, this is a solid pick.

Fuuuuuuuuuuuuuuuckkkk this release kicked my ass. When I first heard it, I was not expecting the level of sheer, wretched darkness and aggression Padkarosda dish out. Blitzing and deathrock are not two words commonly seen together, but blitzing deathrock is an accurate way to describe the offerings on Tétova Lelkek. The ferocity and urgency of Padkarosda's delivery is worthy of praise in its own right, but coupled with their skilled songwriting, they're a ghastly, formidable force of a band. I'm just hoping they make it over to the states so I can justify drooling in public.

This link leads to a review I did earlier this year on FBN, but in summation: it's two outstanding contemporary noise rock titans (one featuring members of Brainbombs), both dishing out some of their best respective material yet.

FFO: Brainbombs, DNA

Con-Dom How Welcome Is Death To I Who Have Nothing More To Do But Die
Dando is on top of his fucking game on this one. Con-Dom's use of sampling is legendary, and this release might be one of my favorites he's done in that regard. Basically, this is an album about old people dying, killing themselves, and resentment towards them from their families. It's brutal, poignant, and ingeniously snarky; the electronics which serve as the base for this fun little romp through a nursing home, work perfectly to create a snide, malign atmosphere.

With each new effort, Intensive Care pushes their take on the Skullflower / Cosmonauts Hail Satan / etc fusion of electronics and noise rock (incorporating what I believe the kids call the "pig fuck" approach) even further, into increasingly more noxious territory. Voyeurism is, according to the band, the closing chapter of a three part exploration -- the first part being Pay Pig, and the second being This Is Exactly Who You Are --of capitalism, work, dehumanization, and validation through exposure and humiliation. The seamless integration of samples works well to express and highlight those ideas; comparisons can be drawn to industrial titans such as The Grey Wolves and Propergol, as well as to weirder powerviolence-informed bands such as Gasp and Suffering Luna. There's a lot more to say about this than can fit in a small blurb, so I might do a separate review later, but in short, this release is just as fantastic as expected.

Here's a split I'd been waiting (im)patiently for. As you'd expect, both Internal Rot's and Mellow Harsher's sides are unforgiving and recklessly fast. These bands are just picking up where their last releases left off, which, for grind -- let's be real -- is often a good thing. Honestly, there's not a whole lot to say about this one other than the fact that it's a grind split 7" that was able to hold my attention, something that can't be said for most newer grind split 7"s. It's a rager, so check it out.

Oh man, Larry Lifeless still fucking has it. Kilslug's side of this split is exactly what you'd want from them (i.e. total sleazed out doom that falls apart into noise rock) without sounding like a rehash of previous material. Drunk In Hell, while not necessarily as familiar a name as Kilslug, holds their own on their side with one of the most punishing dirges I've heard this year. I heard they're working on an LP and I can't wait to hear it.

Okay, listen up everyone. Humanshapes is one of the best bands in philly right now. Their live performances are riveting, and their music is disconcerting in the best possible way. Extremity Parties is a hornets' nest of noisy post-punk imploding on itself, simultaneously deconstructing and reconstructing its dilapidated form. I've only caught them a couple times (and played with them under a bridge which was a blast to say the least), but they're one of those bands who I think I could see every other week and not get bored.

This link leads to a review I did earlier this year on FBN, but in summation: whether it's the winding riffs, the driving drums, the sinister and heavy overall feel, Skeleton totally nails what they're going for. Listen to this and break stuff.

Well, well...what do we have here? Why, it's a 53 song flexi, brought to you by the noisegrind / noisecore project from the people behind Total Abuse, Breathing Problem, etc. There's a real oversaturation of this style lately (I blame bandcamp dot com), so it's easy to pass on a lot of it, but Mental Abortionis definitely worth checking out. The use of electronics really helps to fully flesh out the full scope of smut that they're going for; and oddly, they've opted for a semi-clean production which actually works in their favor. But make no mistake, Infinite Cum is pure, unadulterated filth. You might want to take a shower after listening to this one.

Man...it's really hard putting something with Nails' name on it on here, but Full Of Hell's side of this split is killer enough to justify it. As with the material on last year's 7", Full Of Hell is diving deeper into the dark, murky waters of deathgrind; with each stroke of their uncompromising onslaught, they become more of a gruesome hybrid, equal parts Incantation and Discordance Axis. I guess I should probably mention Nail's side since it's already here; it sounds kinda like that (actually somewhat decent) flexi they did last year, so it turned out better than expected (sorta). But anyway, Full Of Hell is doing a new LP and from what I've heard, it's gonna be a fucking ripper.

On the surface this EP could be mistaken for typical throwback nyhc, but the more you listen to it, the more you hear how it's constantly falling apart around itself, held together by a thin thread. The sloppy playing, to me, seems intentional; it's artful and calculated. Generally, hardcore punk bands who play sloppily tend to just sound like everyone's first shitty band from high school, but Nueva Fuerza's utilization of this aesthetic somehow hits that perfect spot. Oh, and the riffs are fantastic. This bad boy is worth sitting down with.

I'll never stop kicking myself for skipping out on Brown Sugar's last philly show (in 2012?), but fortunately members have gone on to do other killer projects, one of them being Tapehead. My first impression of them was "holy shit, it's Brown Sugar playing Born Against songs," which should tell you immediately that this is something worth your time; Welcome To Heck is a psyched out Battle Hymns Of The Race War, sans death threat samples and an intermission, (but they have time to pull that off if they so choose). These songs are catchy, nasty, and fun in a totally degenerate way.

I forgot that this was dropping, and then it came out this month and I got excited all over again. I think Triac can do no wrong; everything they do is memorable. On this split, their signature fusion of noise rock and grind is balanced perfectly, and by the end, falls apart into a mess of grueling repetition and electronics (perfection). Sick/Tired went from decent(ish) thrashcore to unforgiving grind seemingly overnight. To me, some of their releases hold up better than others, but this material stands alongside their best. I will say the goofy vocals on that one track threw me off, but other than that, they hit like a train. I guess there were a few good grind splits this year.

I have no idea why nobody has been talking about this 12" from Es, because it's fucking fantastic. I haven't seen any info on the band, but whoever they are, they know how to craft some unnerving synthpunk. The material on here is bouncy and bubbly, yet at the same time is abstract and nightmarish. Definitely one of the coolest, most interesting things to drop this year.

FFO: Units, Outer Circle

Vacant Life Cassingle No. 1
Their tape floored me, and their follow up 7" on ILR was fantastic, and now Vacant Life is back. While the Olympia/Seattle hardcore vibes (Sex Vid, White Wards, Society Nurse, etc) are still there, the focus has shifted more towards an exploration of art punk/post-punky elements, similar to what Behavior did on their LP earlier this year. And somehow, it feels like a natural progression/evolution of their sound; none of it feels contrived. I'm really looking forward to whatever these guys churn out next, they're just getting weirder and weirder in all the right ways.

This is one of those releases that reminds me why people who publish their AOTY lists in the first week of december are total hacks. The first band that this brings to mind is Saccharine Trust, but there's more hardcore punk elements in there than ST ever really had, which are reminiscent of Stains. City Trends is like an SST Records fanboy's wet dream come true; it has all the nastiness and organic weirdo fuckery that made all of us fall in love with this shit in the first place. I'm loving the newer wave of art punk that's popping up, here's to hoping it doesn't get ruined too soon.

FFO: Saccharine Trust, Stains

M. Del Rio Completely Serious
I'm sure that for those of you who've wanted new Raspberry Bulbs, M. Del Rio's Cleft Skull flexi scratched that itch; and I have no doubt that the news of a follow-up tape would get you excited as well. This tape sits between all three RB LPs (Nature Tries Again, Deformed Worship, and Privacy) in a way that lives up to the high quality I've come to expect from Del Rio's post-punk based output. While this is clearly intended to be a project separate from RB, the similarities are certainly there. One thing that really stands out about Completely Serious is Del Rio's focus on and incorporation of more of the industrial / minimal synth elements which came into play on Privacy;something which makesme wonder where this project is going next.

FFO: Raspberry Bulbs, Dome

Teitanblood Accursed Skin
Well, what can I say, it's Teitanblood doing that thing that they do. The two tracks on Accursed Skin are (obviously) crushing thrashing black/death; and as much of their previous material, the songs both cross the ten minute mark. Luckily for us, this band seems to always keep their intensity, regardless of the span of time it takes them to get from start to finish.

Blank Spell is easily one of my favorite contemporary punk bands. I don't think there's a time that I've seen them and haven't had a stupid grin on my face to the point that it hurt by the end of their set. And despite how good their previous output is, this promo for their upcoming LP is their best material yet; it perfectly showcases their twisted amalgam of dark, chaotic mid 80s Italian hardcore punk with dashes of 80s US/UK/Japanese deathrock. The riffs are all memorable, the structures are unpredictable, and the overall atmosphere is haunting.

Mama mia, this is a spicy meatball™! I remember my friend telling me a while back they were working on a band influenced by Japanese metalpunk, and I hoped that it'd be good. I wasn't let down at all, holy shit; Devil Master surpassed all my expectations. But, that's to be expected when you've got members of Cape Of Bats, Blank Spell, The Drip, etc working together, influenced by some of the best of the best. When this came out, people were comparing it to Zouo, but it really sounds only vaguely like Zouo. A lot more is going on here, which you should honestly just hear for yourself. Devil Master not only has the riffs, but also the presentation needed to pull off something like this. Decibel magazine had a review of this that was a fucking joke (what a shocker), and honestly I don't think I can even give this as good a review as I want. But, trust me, you need this.
This has split tracks.

The people who brought you Twin Stumps and White Suns are back, and somehow no one seemed to notice. Conduit definitely has the same plodding pace as Twin Stumps' first LP, and has all the abstract guitar work of White Suns; but that's where the similarities end for the most part. In addition to the essential noise rock elements, Conduit integrates some rudimentary electronics into their sound, which, as I'm sure you know, makes for an overwhelming and downright scary listening experience. It's been interesting seeing the rise in this theme explored by noise rock bands, and somehow many (Conduint included) have managed to keep it sounding fresh.

I got turned onto this project because it features a member(s?) of now defunct UK hardcore punk band No, and wasn't really sure what to expect when I lisetned. Well, it doesn't sound like No at all; it's like a strange mixture of blackened punk and goth recorded in a cave. For some reason I also get Dreamdecay vibes from some of the guitarwork which is definitely interesting. Nadie's sound is as sombre as it is aggressive, and it's probably something you should just listen to for yourself.

The Bug is back, and more buggy than ever. If you liked their first tape, you'll like this one too, and not just because some of the same songs are on it. Room 44 Sessions a continuation of what the Bug started with their brand of reckless, trainwreck hardcore punk, only they've cranked up their usage of noise and atonality; and have done so without slowing down one bit -- they may have even sped up some. You know what you're getting into with this, and I'm sure it's just what you wanted.

Here's one of the few contemporary deathrock projects that integrates industrial into their sound. Admittedly, it could use a little bit of fine-tuning, but Laugh's approach is effective in creating chorus drenched existential dread. None of the tracks reach the 2 minute mark, making each one feel like a microcosmic experiment in evoking fear and discomfort, and fully realized via the disconcertingly muffled vocals. Listen in the dark.
This has split tracks.

This link leads to a review I did earlier this year on FBN, but in summation: Moth Slasher's brand of blown out noise rock dirges and crawls, yet also remains unpredictable, often falling apart into detuning and electronic soundscaping. I can't think of anything in recent memory that sounds quite like this, so get it while it's hot (or maybe it's cold, I don't know dude)

Oh boy, if you wanted to hear the unholy bastard child of United Mutation and YDI, Only Human is the band for you. The riffs, the unbridled aggression, the somehow not stupid sounding cookie monster vocals...it's all here. And it's phenomenal. But then again, Only Human features members of No Form, so I'd expect nothing less. Put it on and smash.

How does the idea of psych'd out funky deathrock sound to you? Good? Good. And that's what First Wave Of Death Funk is -- it's good. Product melds the two styles, but leans towards the psych/noise rock side of things, so the gloom takes a back seat to the doom, so to speak. The spacey guitar and powerful rhythm section build an environment, rather than just a backdrop, in which sinister howls thrive -- the culmination of which is hair-raising. Check it out.

FFO: Dreamdecay, Haldol

Prison Shower Prison Shower
The people over at Yamabushi Recordings really know how to churn out some of the most vile shit. While the most well known project on the label is Sesso Violento (Molestador is for sure one of the best, most memorable blackened punk LPs that I've heard), there are a handful of other projects which the label is home to, one of them being Prison Shower. My first impression was that it reminded me of a project I did a few years back called Nathaniel Wingate Peaslee (named after a Lovecraft character), but I quickly I picked out some 80s Texas noise rock and weirder 00s blackened punk vibes. This thing is punishing; total knuckledragging dirges, complimented with some harsh electronics to top it all off with an extra layer of filth.

Oh look, yet another offering from Iron Lung Records that's made it onto my "best of" lists. This particular tape is best listened to alone in the dark, where the pulsing synths and crashing waves of electronics can bring the cliff wall that is your being crumbling down. Life Drag erodes the soul, slowly and methodically, each track stripping a little bit away until there's nothing left. Their exploration of Chrome influenced industrial/psych is both satisfying and gut-wrenchingly bleak.

I don't know how this guy can put out such a variety of shit and have all of it be great; he's responsible for Naamahk, Malphas, and now Fuath Vough. The biggest influence is definitely Paysage D'Hiver, especially their releases which are split between elegiac dark ambient and devastating death metal influenced black metal, the main difference here being that Fauth Vough's black metal riffing has slightly punker leanings. Monolith To The Brollachan Priest is fantastic as both a black metal release and an industrial release.
This has split tracks.

FFO: Murmuüre, Paysage D'Hiver

No Care Superiorstrains
Here's a new(er) project from one of the masterminds behind Wojtek, except instead of raw black/death metal punk, it's hardcore punk influenced by some of Japan's finest lofi heroes. And okay, maybe a little hint of raw black metal here and there. It may be straightforward, but what sets Superiorstrains apart from other similar efforts within this specific style, is the fact that rather than falling into the typical pitfalls that come along with worship, it comes off as more of an homage; it is notable due to its own merits, not because "oh man, this sounds just like G-Gas." Does this count as shameless self-promotion since I'm drumming for the band incarnation of this project? Who knows, but check it out.
(P.S. I did the art for this one, and that's shameless self-promotion)

So, I found out about this band because the guitarist from my old band 1/4 Dead (I doubt anyone remembers), is doing vocals; and the first I heard of them was that they were playing with Die Kreuzen. Both of those things intrigued me -- especially the first since everything Eric touches is wild -- and I gotta say this is one of his best efforts yet. It's total sleazed out rocking metalpunk, with a big emphasis on the sleaze. The opening sample from The Hobbit really sets the tone for how tongue-in-cheek and kickass this whole thing is; plus all the lyrics are about b-horror and old sega games. Do I need to say anything else, or are you sold already?
(P.S. I did the art for this one too, although it's not the final draft since I'm waiting on the band for the logo they want to use; but I needed to put something on here)

FFO: G.I.S.M., Cape Of Bats

The Obscured Desolate Wanderings
This release actually was a submission that I've been meaning to post for a while, but didn't get the chance to, so here it is now. Desolate Wanderings might be one of the most dreary things I've heard this year, everything about it sucks the fun right out of the room and replaces it with hypoxic hopelessness. Goth with an emphasis on atmosphere is harder to pull off since it's not the 80s, so The Obscured are certainly an impressive band in that regard; the best comparisons I can make are -- for the most part -- french bands from the 80s. I'm really glad this made it to the FBN submissions inbox, and I hope to hear more from this band in the near future (hopefully a tour too?).

FFO: Trop Tard, Theatre Of Ice

*not actually a Japanese band, turns out it's a Finnish project featuring members of Selfish and others.

Okay, you know what -- I doubt anyone else would bother posting these, so here's some real shameless self-promotion. I've earned it right? I won't review them since that'd be corny, but here’s my two latest releases from 2016 (both of which still need to be put out in a physical format, whoops):

Bloated Subhumans Commemoration
This was released coinciding with the 1 year anniversary of my last almost successful suicide attempt, and explores the 4 forms of suicide proposed by Durkheim via repetitive noise rock and electronics.

FFO: Brainbombs, Grim

Commodity Fetishism Manifesto
Commodity Fetishism is a rhythmic industrial project influenced by the works of Marx; Manifesto explores capitalism, sexuality, and the intersection of the two.

FFO: SPK, White Hospital

There you go. Obviously, I encourage you all to support the artists when you can. 2016 is finally coming to an end. I'm done. In the words of the immortal Juntaro:
Fuck compose
Fuck melody
Dedicated to no one
Thanks to no one
Art is over

Spike In Vain is easily one of the coolest, most underrated punk bands ever. Their iconic Disease Is Relative LP, sits in the nightmarish crossroads where Christian Death, No Trend, and Rudimentary Peni meet, feasting on corpses in rapturous, sardonic glee. Their second full length Jesus Was Born In A Mobile Home was released on cassette; and probably would've been lost to time...but thanks to the internet, knowledge of this elusive band and their material was exhumed, and given another life to wreak havoc once again.

Jesus Was Born In A Mobile Home picks up right where its predecessor left off, but has a somewhat different overall feel to it. The material is more cohesive, as though they took what they did on Disease Is Relative, and whittled it into a deadly point. Take that how you will, but I think this tape is just as good as the LP. Some of the tracks are live and demo recordings, however that doesn't take any of the bite out of this release. The music on here is truly deranged in a unique way, and it's honestly difficult to compare Spike In Vain to any other band(s)*, because none that I can think of -- before or since -- have matched their terrifying fusion of the caustic and macabre. In their own words: ugly and damaged.

Spike In Vain should be considered essential deathrock, up there with Part 1, Theatre Of Ice, Rudimentary Peni, etc.

Sunday, 21 August 2016

New bands revitalizing classic sounds and styles of a particular era of extreme music is nothing new but rarely does a band come along and have their influences sorted out with such an acute precision of a long gone and obscure style that chances are you may not even know any of the bands listed in the "For Fans Of" section (guilty of this myself).

Coming from a rich pedigree of old and new bands (Where's The Pope?, Ripped Off, The Submissivies, Pissed On, Sick People), Unbound are manic time travelers adventuring back into the long forgotten times of 90's punk-metal. Ripping into it from the get go they traverse back to a realm of heavy music in an era that is seldom traveled. From the start they dive down into a time-frozen zone of death metal/thrash and return with specimens like "Morbid Freaks" before they go back again into an alt-metal dimension on "Births Eulogy" before finally their obsessive endeavors catch up to them causing a time rift with worlds colliding together in a spiraling frenzy of heavily effected madness which is documented in "Epitaphic Confines" and "Only Dead". Sparing nothing from their methodical styles and grooves the same can be said for the tight and very un-demo like production. Slick and dense guitar and bass tones combating against rugged and plummeting drums whilst they all carry the vocalist around howling in the language of insanity into a flanged-out void.

Unbound has done a top notch job exhuming this peculiar style of 90's Australian punk-metal out from the ground. While at first this may sound like its an acquired taste it only seems that way because Unbound proudly wear their influences on their sleeves when no one else wanted them.

Sunday, 7 August 2016

Ummmmmm...so I'm sure many of you heard earlier this year about a new Brainbombs LP...and it's finally here! I'm kinda flipping out over it, because they somehow are still consistently churning out some of the most haunting, filthy, and memorable tracks of any noise rock band ever, despite having been a band for a little over 30 years at this point. Granted, it's generally one riff per song, but goddamn are they great. However, this LP sees Sweden's Meanest taking a direction they haven't played with this much since their Genius And Brutality...Taste And Power LP; that's right, they're pulling out the psych.

Those familiar with Brainbombs' output shouldn't be too surprised with what they're doing on Souvenirs. They've always had heavy psych leanings, but what sets the material on this LP apart from the rest of their work is that a lot of the tracks are driven more by creating frightening moods and atmospheres rather than every riff being big and bad. That's not to say this LP doesn't have big, bad riffs, because it really does. But the feelings of emotional detachment and emptiness are more at the forefront of it all; and it feels unnerving in a way most of their output doesn't (aside from the Genius And Brutality...Taste And Power LP). It really is incredible that Brainbombs have found ways to keep their output from getting stale, while still maintaining their overall aesthetic. Plus, at least now I have this killer to listen to while I cry over not being able to see them in LA.

Blah, blah it's Brainbombs doing what they do best. You know what you're getting into.